非物质文化遗产的主体与保护主体之解析

非物质文化遗产保护是一项全人类、全社会卷入的公共文化事业,需要各方面主动扮演相应的角色、发挥各自的优势、承担特定的责任。把各个方面建构成积极有为的身份,就成为非遗保护的一项颇有建设价值的理论工作。其中,以"主体"身份看待相关的各个方面,是一项有益的尝试。界定非遗的主体与非遗保护的主体,实际上也是探索建立非遗保护这项公共文化事业的分工合作的身份框架。     

青海互助县金禅口遗址发掘简报

2012年7月至9月,为探索麦类作物和外来畜养动物的传播途径,青海省文物考古研究所对位于青海互助土族自治县加定镇加塘村的金禅口遗址进行了考古发掘。共揭露齐家文化时期房址5座、灰坑15个、墓葬1座和陶窑2座,出土陶器、石器、骨器、铜器、木器等200多件及大量动、植物遗存。本文对其中的典型遗存进行了详细介绍。通过与邻近地区的同类文化遗存进行比照,本遗址出土的齐家文化典型器型与其存在许多相似之处。选取炭化植物种子10个样品,小麦、大麦、粟和黍,经北京大学考古文博学院碳十四实验室进行测年,数据结果的年代范围在2200~1750BC。综合考虑基本上反映了金禅口遗址齐家文化聚落的绝对年代。遗址中出土的众多细石器和大量动物骨骼反映了发达的畜牧业和狩猎经济。而通过对遗址中采集的土样轻浮物进行鉴定,显示碳化农作物种子10163粒,占出土碳化植物种子总数的90.4%,表明采集业是当时经济生活的重要补充,但农业仍是主要的生计方式。由此可见,金禅口遗址所处的自然环境决定了齐家文化时期先民的生业模式复杂多样。     

茂县及岷江上游地区在古蜀文明形成中的重要作用与地位

"古蜀文明"即"三星堆文明",形成的时间大致在公元前1600年~前1500年之间。三星堆文明形成时期的代表性文明因素主要有3种:一是以三星堆城址城墙为代表的本土文明因素,二是以具有二里头文化特征的文化遗存为代表的中原文明因素,三是以具有齐家文化特征的文化遗存为代表的甘青地区文明因素。后二者是通过早在公元前3500年前后就已经形成的岷江上游地区的文化通道,由陇西南进入成都平原地区,并促使成都平原本土文化发生巨变,产生了三星堆文明,开始了古蜀文明的历程。三星堆文明的形成过程反映了岷江上游地区在古蜀文明的形成这一重大历史事件中,发挥了无可替代的桥梁作用。     

The City Evita Built. Cinematic Childhood and Peronism in Luis César Amadori’s Soñemos (1951)

This article examines the under-studied film productions known in Peronist Argentina as “docudramas”. Placing documentary elements within a fictional plot, docudramas marked a significant change in the state propaganda machine and were used as a new vehicle to influence social habits. I focus particularly on Soñemos [Let’s Dream], a short film directed in 1951 by Luis César Amadori to showcase urban reforms. Through an analysis of Amadori’s docudrama in regard to its representation of the Children’s City built by the Eva Perón Foundation, I discuss relationships between entertainment, the constitution of a political hegemony, and modernisation. With film techniques such as the dissolve, Soñemos depicts the Children’s City as an enterprise capable of delivering material happiness and amplifies the narrative of a fairy tale come true promised by Evita’s social service programmes. Ultimately, the docudrama affirms the central role played by the state in the definition of the “right to a home” – from supportive benefactor to constitutive replacement.     

山西省转型期旅游场强时空异质性特征及机制

以山西省转型期旅游发展为例,选取2005、2011和2017年17项指标构建城市旅游发展综合实力评价体系,基于改进场强模型,借助GIS技术和地理探测器模型,分析旅游场强时空异质性特征及演变机制。结果表明：①旅游场强高值区范围扩大、逐步形成叶脉状网络空间形态,突破了早期“人”形格局限制;②各地市旅游场强前期整体上升,后期集中在大西高铁沿线,城市绝对差异增加,高级别场强类型主要以太原市为中心向边缘扩散演替;③旅游场强空间格局演变具有时序性特征,主导因子经历了二元、三元主导和多元共同作用阶段,对于旅游产业后发省份构建区域旅游场强空间格局具有借鉴和指导意义。     

二里头文化陶礼器造型艺术研究

二里头文化陶礼器的造型艺术表现为简洁质朴的艺术风格,这与夏代礼制文化中"尚质"的审美倾向十分吻合。陶礼器的造型艺术由黄金比例、纹饰和仿生三种设计方法以体现陶器造型和装饰的简洁与抽象性,而三至四期动物造型装饰的增多则为商代青铜礼器的艺术形式奠定了基础。酒器和食器的器物造型构成了礼仪中行为与时间的观念,以及动与静的礼仪活动的日常行为规范。而高等级墓葬中的稀有陶器斗笠形器,其造型与古人对天的描述相同,它不仅代表了所葬之人的身份与职能,还是上层社会对天祭祀权力的象征。     

Advancing culture’s role in sustainable development: social change through cultural policy

ABSTRACT

This paper examines the potential for cultural policy to shape sustainable development in the context of expectations arising from research and policy work on development. We use, as the basis of a critique, the categorisation of the relationship between culture and sustainable development proposed by a major study funded by the European Union, being emblematical of how researchers and policymakers understand this relationship. The critique highlights a need for multiscalar social change, towards revaluing relations with the natural world, and reforming social relations between producers and consumers. This paper locates cultural policy as an arm of governance, with the capacity to lead social change across several interdependent pathways (revaluing technological change; fostering an aesthetic appreciation and environmental ethical consciousness; and pro-social behaviour) alongside the development of more sophisticated governance frameworks. The paper further proposes that through (re)education, cultural policy can and should play a more active role in shaping social change.     

The New View of Makeup and the Consumption of Cosmetics among the Women of Shanghai in the Modern Age

Under the pressure of the national crisis in modern China, millennia-old traditional concepts have been broken and adjusted, and new trends and ideas have emerged in large numbers. In order to defeat local cosmetics, from the moment they entered China foreign cosmetics companies attacked the traditional Chinese cosmetics of eyebrow pigment (dai), lip pigment (gong), rouge (zhi), and face powder (fen). Corresponding to the enlightenment ideas of the early twentieth century, women could no longer pursue beauty in a way that harmed their bodies. In the movement to liberate women’s bodies in the 1920s, radical intellectuals developed a severe criticism of the bad habits of using corsets and applying powder, and the concept of “healthy beauty” came into being. However, in the context of the development of the women’s liberation movement and the respect for women’s consumer rights, the healthy beauty theory failed to suppress women’s consumption of beauty products, and “natural beauty” and “artificial beauty” ultimately coexisted in lifestyles of women in the modern era of Shanghai.     

“The Old New-Intellectuals” in the May Fourth New Cultural Movement*

During the May Fourth New Cultural Movement, three debates on new/Western and old/Chinese cultures were respectively carried out between the journal New Youth and Lin Qinnan, Chen Duxiu and Du Yaquan, as well as Zhang Dongsun and Fu Sinian. New Youth, Chen Duxiu and Zhang Dongsun were regarded as the “new school,” whereas their opponents “the old new-intellectuals.” The difference between them lies in their attitudes towards traditions instead of their new or old knowledge. After three heated debates, New Youth won a total victory in big cities, because the so-called “urban youths” needed a radical cultural reform plan and a simple guide for action. On the contrary, “town youths” who lived in small cities and towns did not care about the attitudinal difference of two sides. They paid more attention to absorbing new knowledge from both sides and were more sympathetic to tradition.     

Putting People on the Page: Material Culture as a Way in to Everyday Life behind the Facades of Tallis’s London Street Views

Tallis’s Street Views describe London as a commercial and professional centre but the visual representation of the street elevations gives an impression of quiet emptiness; it is hard to get a sense of the activity in and around the businesses portrayed. The household inventory of one of Tallis’s advertisers, a dentist who died in 1850, suggests a way of redressing this. An interpretive reading of the list of the dentist’s belongings, disposed around the different spaces of the premises, which housed his residence, his business and other households, gives some sense of the complexity and struggle at a daily level behind Tallis’s apparently orderly professional and commercial facades. This indicates that we can look more generally to material culture – whether in textual and visual representations or as actual artefacts – to provide a deeper understanding of people’s everyday life in a developing city.